Get ready for another cookout - la familia is coming back.
Who would’ve thunk that a film centered around L.A. street racing and boosting dvd players would spawn 10 globetrotting films.
In 21 years friendships have been made
and broken
but one thing remains: the Fast saga remains a fun way to spend time. And thanks to executive producer Vin Diesel the film doesn’t treat fan service like it’s a bad thing. You want us to go to space? We’re going to space! You want us to bring back old favourites? Mama, let’s research on the most ridiculous ways to bring them back!
With every Fast film we gain more people to the franchise. This time around we get SUICIDE SQUAD’s Daniela Melchior, doting dad Jason Momoa,
and Brie Larson
Returnees include Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Sung Kang, Nathalie Emmanuel and Charlize Theron.
When he’s not being a messy heaux who lives for drama Vin sings
-On the Sony side of things they have announced some release dates for upcoming films.
Spider-Man: Across the Spider-Verse : June 2, 2023 (from October 7, 2022)
Spider-Man: Across the Spider-Verse Part II – March 29, 2024
Lyle, Lyle, Crocodile (based on the kids book with singer Shawn Mendes voicing Lyle) moves up to Oct. 7, 2022 from Nov. 18.
Madame Web (starring Dakota Johnson)– July 7, 2023 The Equalizer 3 (starring Denzel Washington)– September 1, 2023
Devotion (starring Jonathan Majors, Glen Powell and Joe Jonas)-limited on Oct. 14 and goes wide on Oct. 28.
I really like the stark, simplicity, of this. I think it helps emphasise how, at this point, a sub can put aside the rest of the world and forget about what she is and does at all other points. The present comes into focus, the mind can go quiet.
Of course, she also looks really, really pretty… love that pale skin in the dark clothes.
This devotional work started out dedicated to one deity, and after a series of events and meditations, I needed to completely change the icon. While it’s not uncommon for paintings to undergo such a drastic change, I wanted to at least capture some shots of the underpainting of the skeletal goddess before covering it over.
The last image is a small teaser, a work in progress on a new painting dedicated to Nak (colloquially: Nyx.)
Summary:[…] No es el hecho de que su vínculo parece más fuerte que nunca […] sino que la forma en que su hermano complace cada uno de los pequeños antojos del Maestro Wei le recuerda tanto a la ciega devoción por la que su padre se dejó hundir y que le costó no sólo su libertad sino también la de su madre. […]
Never be ashamed to acknowledge your inferiority and your dependence on your man. Instead, feel proud to have a strong man who loves you. A man who will guide and protect you…
And above all, never be ashamed to show him your gratitude and devotion, in private or in public…
My sub sent me this mail today and I found it very gratifying and arousing to read how completely she exists to please me. A valuable and obedient piece of property who is so eager to debase and degrade herself to become less than a piece of brutalised fuckmeat, for me. What a good girl.
…my desire to submit to you and please you, to debase myself for you, is so strong, so desperate, that there is literally nothing I wouldn’t do. There’s nothing I would deny you. I would do anything you asked of me, no matter how unpleasant or humiliating or painful. Right now, if you asked me to do so, I would get on a train just to let you piss in my mouth and then get the train home again. If all you wanted of me was to clean your cock and balls after you had fucked another sub, I would happily and willingly do it. I would kneel at your feet for hours while you ignored me, just to be available for your use should you want me. I hope you know how devoted I am to you. I want to be the best slave you have ever had. There is nothing I would deny you. You own every part of my body and mind now…
“Just his looking at me could make me tremble. It was all so romantic. I couldn’t think of anything else. No one has ever written a romance better than we lived it.” - Lauren Bacall on her romance with Humphrey Bogart
Diptych with scenes from the Life of Saint Martin of Tours: The Consecration of Saint Martin as Bishop (left), Saint Martin shares his Cloak with a Beggar (right) Cologne, Germany, 1340-50 Ivory with polychromy, gilding, and original silver hinges
“This beautiful and well-preserved diptych includes its original polychromy, gilding, and silver hinges, though these are no longer connected. With its lapis background, red roof tiles, and gilded details of the figures’ clothing, the appearance is one of luxuriousness. The diptych provides us with a rare and vivid impression of how such devotional ivories were originally decorated in the 14th century.”
Currently in the collection of the Cleveland Museum of Art. Image and description taken from the Cleveland Museum of Art website.
Lace Book of Marie de’ Medici, Lace margins, Walters Manuscript W.494, Folio 17v by Walters Art Museum Via Flickr: This Prayerbook was made for Marie de’ Medici in the second quarter of the seventeenth century. Beyond its provenance as a personal book owned by the famous queen, it is exceptional for its intricately cut borders, which transform the parchment margins into lace. This effect was created using a technique known as “canivet,” in which a small knife was used to cut ornate patterns into paper or parchment. An art form that flourished originally among nuns in France, Germany, and the Netherlands beginning in the sixteenth century, it was employed to exceptional effect in several manuscripts connected with Marie de’ Medici. The Walters manuscript, made for her while she was regent of France, and wife of King Henry IV, contains twenty-eight miniatures, including original religious imagery as well as several later additions: a gouache portrait of the elderly queen, and nine small miniatures produced in Bruges ca. 1450 by an artist influenced by the Eyckian and Gold Scrolls styles prevalent at the time; the coat-of-arms of Marie de Medici, as well as her monogram. The Walters manuscript retains its original binding composed of mosaic inlays in green and black leather, as well as fine gilt pointillé foliate tooling, and a replica of the binding was created by Léon Gruel for Henry Walters on one of his seventeenth-century printed books (92.467) that also connects to Marie de’ Medici. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W494/
Lace Book of Marie de’ Medici, Lace margins, Walters Manuscript W.494, Folio 15r by Walters Art Museum Via Flickr: This Prayerbook was made for Marie de’ Medici in the second quarter of the seventeenth century. Beyond its provenance as a personal book owned by the famous queen, it is exceptional for its intricately cut borders, which transform the parchment margins into lace. This effect was created using a technique known as “canivet,” in which a small knife was used to cut ornate patterns into paper or parchment. An art form that flourished originally among nuns in France, Germany, and the Netherlands beginning in the sixteenth century, it was employed to exceptional effect in several manuscripts connected with Marie de’ Medici. The Walters manuscript, made for her while she was regent of France, and wife of King Henry IV, contains twenty-eight miniatures, including original religious imagery as well as several later additions: a gouache portrait of the elderly queen, and nine small miniatures produced in Bruges ca. 1450 by an artist influenced by the Eyckian and Gold Scrolls styles prevalent at the time; the coat-of-arms of Marie de Medici, as well as her monogram. The Walters manuscript retains its original binding composed of mosaic inlays in green and black leather, as well as fine gilt pointillé foliate tooling, and a replica of the binding was created by Léon Gruel for Henry Walters on one of his seventeenth-century printed books (92.467) that also connects to Marie de’ Medici. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W494/
Lace Book of Marie de’ Medici, Transfiguration, Walters Manuscript W.494, fol. 13r by Walters Art Museum Via Flickr: This Prayerbook was made for Marie de’ Medici in the second quarter of the seventeenth century. Beyond its provenance as a personal book owned by the famous queen, it is exceptional for its intricately cut borders, which transform the parchment margins into lace. This effect was created using a technique known as “canivet,” in which a small knife was used to cut ornate patterns into paper or parchment. An art form that flourished originally among nuns in France, Germany, and the Netherlands beginning in the sixteenth century, it was employed to exceptional effect in several manuscripts connected with Marie de’ Medici. The Walters manuscript, made for her while she was regent of France, and wife of King Henry IV, contains twenty-eight miniatures, including original religious imagery as well as several later additions: a gouache portrait of the elderly queen, and nine small miniatures produced in Bruges ca. 1450 by an artist influenced by the Eyckian and Gold Scrolls styles prevalent at the time; the coat-of-arms of Marie de Medici, as well as her monogram. The Walters manuscript retains its original binding composed of mosaic inlays in green and black leather, as well as fine gilt pointillé foliate tooling, and a replica of the binding was created by Léon Gruel for Henry Walters on one of his seventeenth-century printed books (92.467) that also connects to Marie de’ Medici. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W494/
Lace Book of Marie de’ Medici, Lace margins, Walters Manuscript W.494, Folio 11r by Walters Art Museum Via Flickr: This Prayerbook was made for Marie de’ Medici in the second quarter of the seventeenth century. Beyond its provenance as a personal book owned by the famous queen, it is exceptional for its intricately cut borders, which transform the parchment margins into lace. This effect was created using a technique known as “canivet,” in which a small knife was used to cut ornate patterns into paper or parchment. An art form that flourished originally among nuns in France, Germany, and the Netherlands beginning in the sixteenth century, it was employed to exceptional effect in several manuscripts connected with Marie de’ Medici. The Walters manuscript, made for her while she was regent of France, and wife of King Henry IV, contains twenty-eight miniatures, including original religious imagery as well as several later additions: a gouache portrait of the elderly queen, and nine small miniatures produced in Bruges ca. 1450 by an artist influenced by the Eyckian and Gold Scrolls styles prevalent at the time; the coat-of-arms of Marie de Medici, as well as her monogram. The Walters manuscript retains its original binding composed of mosaic inlays in green and black leather, as well as fine gilt pointillé foliate tooling, and a replica of the binding was created by Léon Gruel for Henry Walters on one of his seventeenth-century printed books (92.467) that also connects to Marie de’ Medici. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W494/
Lace Book of Marie de’ Medici, Lace margins, Walters Manuscript W.494, Folio 10r by Walters Art Museum Via Flickr: This Prayerbook was made for Marie de’ Medici in the second quarter of the seventeenth century. Beyond its provenance as a personal book owned by the famous queen, it is exceptional for its intricately cut borders, which transform the parchment margins into lace. This effect was created using a technique known as “canivet,” in which a small knife was used to cut ornate patterns into paper or parchment. An art form that flourished originally among nuns in France, Germany, and the Netherlands beginning in the sixteenth century, it was employed to exceptional effect in several manuscripts connected with Marie de’ Medici. The Walters manuscript, made for her while she was regent of France, and wife of King Henry IV, contains twenty-eight miniatures, including original religious imagery as well as several later additions: a gouache portrait of the elderly queen, and nine small miniatures produced in Bruges ca. 1450 by an artist influenced by the Eyckian and Gold Scrolls styles prevalent at the time; the coat-of-arms of Marie de Medici, as well as her monogram. The Walters manuscript retains its original binding composed of mosaic inlays in green and black leather, as well as fine gilt pointillé foliate tooling, and a replica of the binding was created by Léon Gruel for Henry Walters on one of his seventeenth-century printed books (92.467) that also connects to Marie de’ Medici. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W494/
Lace Book of Marie de’ Medici, John the Baptist baptizing Christ, Walters Manuscript W.494, fol. 8r by Walters Art Museum Via Flickr: This Prayerbook was made for Marie de’ Medici in the second quarter of the seventeenth century. Beyond its provenance as a personal book owned by the famous queen, it is exceptional for its intricately cut borders, which transform the parchment margins into lace. This effect was created using a technique known as “canivet,” in which a small knife was used to cut ornate patterns into paper or parchment. An art form that flourished originally among nuns in France, Germany, and the Netherlands beginning in the sixteenth century, it was employed to exceptional effect in several manuscripts connected with Marie de’ Medici. The Walters manuscript, made for her while she was regent of France, and wife of King Henry IV, contains twenty-eight miniatures, including original religious imagery as well as several later additions: a gouache portrait of the elderly queen, and nine small miniatures produced in Bruges ca. 1450 by an artist influenced by the Eyckian and Gold Scrolls styles prevalent at the time; the coat-of-arms of Marie de Medici, as well as her monogram. The Walters manuscript retains its original binding composed of mosaic inlays in green and black leather, as well as fine gilt pointillé foliate tooling, and a replica of the binding was created by Léon Gruel for Henry Walters on one of his seventeenth-century printed books (92.467) that also connects to Marie de’ Medici. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W494/
Lace Book of Marie de’ Medici, Lace margins, Walters Manuscript W.494, Folio 6v by Walters Art Museum Via Flickr: This Prayerbook was made for Marie de’ Medici in the second quarter of the seventeenth century. Beyond its provenance as a personal book owned by the famous queen, it is exceptional for its intricately cut borders, which transform the parchment margins into lace. This effect was created using a technique known as “canivet,” in which a small knife was used to cut ornate patterns into paper or parchment. An art form that flourished originally among nuns in France, Germany, and the Netherlands beginning in the sixteenth century, it was employed to exceptional effect in several manuscripts connected with Marie de’ Medici. The Walters manuscript, made for her while she was regent of France, and wife of King Henry IV, contains twenty-eight miniatures, including original religious imagery as well as several later additions: a gouache portrait of the elderly queen, and nine small miniatures produced in Bruges ca. 1450 by an artist influenced by the Eyckian and Gold Scrolls styles prevalent at the time; the coat-of-arms of Marie de Medici, as well as her monogram. The Walters manuscript retains its original binding composed of mosaic inlays in green and black leather, as well as fine gilt pointillé foliate tooling, and a replica of the binding was created by Léon Gruel for Henry Walters on one of his seventeenth-century printed books (92.467) that also connects to Marie de’ Medici. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W494/
Lace Book of Marie de’ Medici, Flight into Egypt, Walters Manuscript W.494, fol. 6r by Walters Art Museum Via Flickr: This Prayerbook was made for Marie de’ Medici in the second quarter of the seventeenth century. Beyond its provenance as a personal book owned by the famous queen, it is exceptional for its intricately cut borders, which transform the parchment margins into lace. This effect was created using a technique known as “canivet,” in which a small knife was used to cut ornate patterns into paper or parchment. An art form that flourished originally among nuns in France, Germany, and the Netherlands beginning in the sixteenth century, it was employed to exceptional effect in several manuscripts connected with Marie de’ Medici. The Walters manuscript, made for her while she was regent of France, and wife of King Henry IV, contains twenty-eight miniatures, including original religious imagery as well as several later additions: a gouache portrait of the elderly queen, and nine small miniatures produced in Bruges ca. 1450 by an artist influenced by the Eyckian and Gold Scrolls styles prevalent at the time; the coat-of-arms of Marie de Medici, as well as her monogram. The Walters manuscript retains its original binding composed of mosaic inlays in green and black leather, as well as fine gilt pointillé foliate tooling, and a replica of the binding was created by Léon Gruel for Henry Walters on one of his seventeenth-century printed books (92.467) that also connects to Marie de’ Medici. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W494/
He know us all. For that reason he knows what was needed to change the nature of our hearts. And he’s done that. Be free. In Him. #proverbs #devotional #twg #devotion
Never be ashamed to acknowledge your inferiority and your dependence on your wife. Instead, feel proud to have a strong woman who loves you. A woman who will guide and protect you…
And above all, never be ashamed to show her your gratitude and devotion, in private or in public…
